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"content": "\u003cp>Back at the start of the pandemic, when San Francisco commenced its first stay at home order, I compiled a list of “\u003ca href=\"https://www.kqed.org/arts/13876876/6-entertaining-hotlines-to-soothe-your-dystopian-lockdown-nightmares\" target=\"_blank\" rel=\"noopener noreferrer\">hotlines to bling as the lockdown kicks in.\u003c/a>” (This feels like a good time to apologize for that part in the beginning where I very confidently stated that shelter in place was going to last three weeks… Ahem.) Now, as mask and vaccination mandates get lifted in the city—almost exactly two years to the day after the original shutdown—there’s a brand new phoneline to call when you’re trying not to bawl. It’s called Peptoc and it is an unfiltered joy provider.\u003c/p>\n\u003cp>Dreamed up by art teacher \u003ca href=\"https://www.instagram.com/jessicamartinart/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Martin\u003c/a> and artist \u003ca href=\"https://www.instagram.com/asherah.weiss/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Asherah Weiss\u003c/a>, the bilingual line is voiced by the charismatic students (ages 5-12) of \u003ca href=\"https://www.westsideusd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Side Elementary school\u003c/a> in Healdsburg. And they are just as adorable and inspiring as you might imagine.\u003c/p>\n\u003cp>Calling Peptoc on (707) 8-PEPTOC gives you five options:\u003c/p>\n\u003cp>Press one if you’re feeling, “mad, frustrated or nervous.” Here, callers will find excellent advice from students that encourages, among a wide array of options, pillow punching, ice cream consumption and trampolining. (Whether or not you attempt all three of these at once is entirely up to you.)\u003c/p>\n\u003cp>Press two if you, “need words of encouragement and life advice.” Callers here can enjoy messages about gratitude, happiness and self-belief. (Shout out to the kid who says “Bro! You’re looking great!”—it made my whole entire week.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Press three if you’re in need of a “pep talk from kindergartners.” This option, not unlike the kids themselves, is shorter but still sweet.\u003c/p>\n\u003cp>Press four to hear “kids laughing with delight.” Remember that thing I said earlier about unfiltered joy? Yeah. That.\u003c/p>\n\u003cp>Press five for “encouragement in Spanish.” Puedes hacerlo!\u003c/p>\n\u003cp>[aside postid='arts_13876876']Not only is Peptoc’s arrival perfectly timed to ease countless bouts of social anxiety, it’s already enormously popular. Since it launched on Feb. 26 as the offshoot of a project where kids made flyers with reassuring messages, Peptoc has racked up as many as 5,000 calls \u003cem>an hour. \u003c/em>That’s in part because word of its heart-warming properties has quickly spread around the world.\u003c/p>\n\u003cp>“I just heard back from a bunch of people from Argentina,” \u003ca href=\"https://www.goodmorningamerica.com/living/story/pep-talk-kindergartners-share-encouragement-joy-viral-hotline-83315079\" target=\"_blank\" rel=\"noopener noreferrer\">Martin told \u003cem>Good Morning America\u003c/em>\u003c/a>. “And it ranges from a whole cancer ward of patients getting chemotherapy, to a lady who just found out her mom was diagnosed with Alzheimer’s, to a fellow high school teacher just saying how incredible the project was. It’s touched a lot of people, so we’re pretty proud of these kids.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can reach Peptoc by calling (707) 873-7862 anytime. To donate to Weiss and Martin’s running costs, visit the Peptoc \u003ca href=\"https://www.gofundme.com/f/peptoc-hotline\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> page.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Emilio Delgado, the Mexican American actor who played the character Luis on \u003cem>Sesame Street\u003c/em> for 40 years, died Thursday at his home in New York City after a battle with blood cancer. Delgado was 81.\u003c/p>\n\u003cp>Delgado died surrounded by family, according to his wife Carol, who spoke with \u003ca href=\"https://www.tmz.com/2022/03/10/sesame-street-actor-emilio-delgado-luis-dead-dies/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>. Delago had been diagnosed with multiple myeloma in December 2020, and recently was in hospice care. \u003c/p>\n\u003cp>[aside postID='arts_11867386']Delgado joined \u003cem>Sesame Street\u003c/em> in 1971, debuting as Luis the handyman and owner of the “Fix-It Shop.” Later on the show, Luis married Maria, played by Sonia Manzano, and the two were instrumental in introducing Hispanic culture to \u003cem>Sesame Street\u003c/em> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>In 2016, Delgado along with Roscoe Gorman (“Gordon”) and Bob McGrath (“Bob”) were let go from \u003cem>Sesame Street\u003c/em> as part of the show’s retooling after being acquired by HBO, as \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\" rel=\"noopener noreferrer\" target=\"_blank\">first reported online by KQED Arts\u003c/a>. Reaction by longtime fans and PBS viewers was swift; the three actors were subsequently invited to take part in the show on a per-episode basis. \u003c/p>\n\u003cp>https://youtu.be/QxOft5QZjDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Delgado’s character Luis was also known for one of Sesame Street’s signature songs, “\u003ca href=\"https://www.youtube.com/watch?v=QxOft5QZjDI\" rel=\"noopener noreferrer\" target=\"_blank\">Sing\u003c/a>,” in which he sang a verse in Spanish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A stage actor, Delgado was recently seen on the Bay Area stage in \u003ca href=\"https://www.kqed.org/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time\" rel=\"noopener noreferrer\" target=\"_blank\">Cal Shakes’ 2018 production of \u003cem>Quixote Nuevo\u003c/em>\u003c/a>, and adaptation of \u003cem>Don Quixote\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emilio Delgado, the Mexican American actor who played the character Luis on \u003cem>Sesame Street\u003c/em> for 40 years, died Thursday at his home in New York City after a battle with blood cancer. Delgado was 81.\u003c/p>\n\u003cp>Delgado died surrounded by family, according to his wife Carol, who spoke with \u003ca href=\"https://www.tmz.com/2022/03/10/sesame-street-actor-emilio-delgado-luis-dead-dies/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>. Delago had been diagnosed with multiple myeloma in December 2020, and recently was in hospice care. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Delgado joined \u003cem>Sesame Street\u003c/em> in 1971, debuting as Luis the handyman and owner of the “Fix-It Shop.” Later on the show, Luis married Maria, played by Sonia Manzano, and the two were instrumental in introducing Hispanic culture to \u003cem>Sesame Street\u003c/em> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>In 2016, Delgado along with Roscoe Gorman (“Gordon”) and Bob McGrath (“Bob”) were let go from \u003cem>Sesame Street\u003c/em> as part of the show’s retooling after being acquired by HBO, as \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\" rel=\"noopener noreferrer\" target=\"_blank\">first reported online by KQED Arts\u003c/a>. Reaction by longtime fans and PBS viewers was swift; the three actors were subsequently invited to take part in the show on a per-episode basis. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QxOft5QZjDI'\n title='//www.youtube.com/embed/QxOft5QZjDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Delgado’s character Luis was also known for one of Sesame Street’s signature songs, “\u003ca href=\"https://www.youtube.com/watch?v=QxOft5QZjDI\" rel=\"noopener noreferrer\" target=\"_blank\">Sing\u003c/a>,” in which he sang a verse in Spanish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A stage actor, Delgado was recently seen on the Bay Area stage in \u003ca href=\"https://www.kqed.org/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time\" rel=\"noopener noreferrer\" target=\"_blank\">Cal Shakes’ 2018 production of \u003cem>Quixote Nuevo\u003c/em>\u003c/a>, and adaptation of \u003cem>Don Quixote\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Evan Rachel Wood Bares Her Scars in New Documentary About Marilyn Manson",
"headTitle": "Evan Rachel Wood Bares Her Scars in New Documentary About Marilyn Manson | KQED",
"content": "\u003cp>All domestic violence survivors face questions about why they failed to speak up or leave sooner. But for the women who’ve accused Marilyn Manson of a litany of physical, mental and sexual abuse—and there are \u003ca href=\"https://www.billboard.com/music/music-news/timeline-abuse-allegations-marilyn-manson-9523386/\" target=\"_blank\" rel=\"noopener noreferrer\">at least a dozen of them now\u003c/a>—there’s an extra hurdle. They’re also expected to explain what they were doing with him in the first place.\u003c/p>\n\u003cp>Before I sat down and watched Evan Rachel Wood’s agonizing new two-part documentary about her relationship with Manson, I already knew the answer to that question. For the entirety of Wood’s four-and-a-half-year relationship with Manson, I worked for a magazine that was one of Manson’s earliest and most fervent supporters. When I started that job, I thought Manson was corny and cliché. By the time I’d left, I believed him to be an artist and social commentator deserving of the world’s respect. I know first-hand that the cult of Marilyn Manson is powerful and convincing, and if one so much as brushes up against it, it’s extraordinarily easy to get sucked into.\u003c/p>\n\u003cp>[aside postid='arts_13892056']Evan Rachel Wood does a masterful job of describing that phenomenon in \u003cem>Phoenix Rising\u003c/em>. She explains that, to his fans and inner circle, Manson isn’t just another shock-rocker, but an intellectual artist who holds a mirror up to society. He’s an icon who gives lost children a safe place to go. He is one of the good guys, dressed up like a bad guy because that’s his artistic vision. And then she spends two and a half hours demonstrating what a bunch of bullshit it all is.\u003c/p>\n\u003cp>Wood also vividly explains why she was the perfect target for Manson. She provides intimate details of her family background, her turbulent teen years and the grooming she experienced. She was 18 and adjusting to fame when they met; he was 37 and still married. These details do an excellent job contextualizing how and why Wood’s relationship with Manson started in the first place, something she has been asked repeatedly to explain. They also show how the appeal of Marilyn Manson works—an essential thing to grasp if the world at large is ever going to understand survivors’ stories.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xJz2zwVogHM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wood has already gone on the record, repeatedly, about what happened behind closed doors during the relationship from mid-2006 and early 2011. But nothing yet publicly discussed can fully prepare one for the harrowing details she shares in \u003cem>Phoenix Rising\u003c/em>. She describes rape, scarification, antisemitic abuse (Wood is Jewish), beatings and druggings at Manson’s hands, along with restrictions around what she ate, how long she slept, what she wore and who she saw. (When fellow Manson survivors appear, their stories are equally disturbing.) Wood also talks plainly about an abortion and a suicide attempt directly relating to her time with Manson. None of this—absolutely none of it—is for the faint of heart.\u003c/p>\n\u003cp>[aside postid='arts_13883598']It’s impossible to fathom where Wood found the strength to put this documentary out into the world. Especially when it so clearly shows her still processing everything that’s happened. In one moment we see Wood standing her ground as an empowered and determined activist, trying to make a difference for women everywhere. In the next, we see her caught off-guard, shaking or sobbing as a sound or a piece of evidence hurls her back into her past. \u003c/p>\n\u003cp>Nowhere is the schism in Wood’s daily existence clearer than in a scene in which she collapses into violent sobs after \u003ca href=\"https://www.vulture.com/2019/10/evan-rachel-woods-domestic-violence-bill-signed-into-law.html\" target=\"_blank\" rel=\"noopener noreferrer\">successfully extending the statute of limitations for domestic violence\u003c/a> in California. In the courtroom, she is a stoic warrior. Outside its doors, she resembles a broken child. Understanding that the former wouldn’t exist without the latter is painful to witness.\u003c/p>\n\u003cp>Wood uses the word “scared” in \u003cem>Phoenix Rising\u003c/em> more than she probably realizes, and more than I could count. And in giving us access to her day-to-day life, Wood also gives the viewer a glimpse of the lingering terror and insecurity with which all survivors of domestic violence continue to live. When authorities begin building a case against Manson, for example, we see Wood flee her home for a secret, safer location. (You have to wonder: What about the women who don’t have somewhere else to go?) We see her and fellow activist Illma Gore moving boxes of evidence to avoid detection by Manson. At one point she explains that Manson has “made it clear that if I ever said anything, he would come after me. He once said he would fuck up my whole family and … he would start with my dad.”\u003c/p>\n\u003cfigure id=\"attachment_13910206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910206\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/manson-abuse-800x713.png\" alt=\"\" width=\"800\" height=\"713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-800x713.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1020x909.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-160x143.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-768x684.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1536x1368.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1920x1710.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse.png 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Evan Rachel Wood, painted by Marilyn Manson, after it’s been used during a therapeutic exercise by Wood. In ‘Phoenix Rising,’ we see her write the list of abuses she says she was subjected to by Marilyn Manson on the portrait in black marker. The words include: raped, beaten, drugged, starved, branded and stalked. \u003ccite>('Phoenix Rising'/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s excruciating to watch Wood describe how Manson’s power as both an icon and an employer prevented numerous bystanders from intervening to assist her and, presumably, the women who came after her. At one point, Wood says Manson flew into a violent rage on tour, and physically dragged her into a hotel room against her will. Wood says a trusted crew member—someone she considered a friend—watched this happen and looked the other way, even as she pleaded for help.\u003c/p>\n\u003cp>The scars from such incidents are so deep that when witnesses admit in the documentary that they were aware of the alleged abuse as it was happening, Wood’s reaction is not one of anger. Rather, she’s palpably relieved to finally have her story corroborated. When one of Manson’s former assistants, Dan Cleary, \u003ca href=\"https://twitter.com/dancleary79/status/1304976908489076739?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">speaks up on Twitter\u003c/a> to back up Wood’s version of events—and the stories of other Manson survivors he knew—she weeps to finally have someone from Manson’s inner circle in her corner. (Cleary appears in \u003cem>Phoenix Rising\u003c/em> at a meeting of survivors.) When crew members from Manson’s infamous “Heart Shaped Glasses” music video come forward to state that Wood was abused on set, she screams “Yes!” even while visibly shaken.\u003c/p>\n\u003cp>[aside postid='arts_13908728']One of the more surprising elements of \u003cem>Phoenix Rising\u003c/em> is the amount of empathy afforded to Brian Warner—the person Manson was before the creation of his famous alter ego. Warner’s background with a violent father, mentally ill mother and years of bullying by peers is presented respectfully in the first episode. (“There’s no doubt in my mind that he was severely abused,” Wood notes at one point.) Warner’s own traumatic background is presented as a factor in the controlling, racist and abusive person Wood describes. (Excerpts from Manson’s 1998 autobiography, \u003cem>The Long Hard Road Out of Hell\u003c/em>, are used here to demonstrate his awareness of that transformation, as well as his lack of remorse about his violent treatment of women.)\u003c/p>\n\u003cp>On March 2, before \u003cem>Phoenix Rising\u003c/em>’s release, Manson sued Wood and activist Illma Gore for “\u003ca href=\"https://apnews.com/article/entertainment-arts-and-entertainment-media-lawsuits-sexual-abuse-97b5bc35a7e957adf087efb065dc004d\" target=\"_blank\" rel=\"noopener noreferrer\">defamation and intentional infliction of emotional distress\u003c/a>,” as well as damage to his career. He is also requesting a jury trial. The timing is, in all likelihood, designed to coincide with the premiere of \u003cem>Phoenix Rising\u003c/em>, and an attempt to undercut its content. \u003c/p>\n\u003cp>After watching the documentary, I don’t believe for a moment that he will be successful. \u003cem>Phoenix Rising\u003c/em> is an exercise in literally and figuratively building the case against Manson. Even in its smallest details, it never once loses its focus on the big picture. And that picture, by the end, is more monstrous than anything Marilyn Manson ever created on stage or in a studio.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Phoenix Rising’ premieres Tuesday, March 15 on HBO.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All domestic violence survivors face questions about why they failed to speak up or leave sooner. But for the women who’ve accused Marilyn Manson of a litany of physical, mental and sexual abuse—and there are \u003ca href=\"https://www.billboard.com/music/music-news/timeline-abuse-allegations-marilyn-manson-9523386/\" target=\"_blank\" rel=\"noopener noreferrer\">at least a dozen of them now\u003c/a>—there’s an extra hurdle. They’re also expected to explain what they were doing with him in the first place.\u003c/p>\n\u003cp>Before I sat down and watched Evan Rachel Wood’s agonizing new two-part documentary about her relationship with Manson, I already knew the answer to that question. For the entirety of Wood’s four-and-a-half-year relationship with Manson, I worked for a magazine that was one of Manson’s earliest and most fervent supporters. When I started that job, I thought Manson was corny and cliché. By the time I’d left, I believed him to be an artist and social commentator deserving of the world’s respect. I know first-hand that the cult of Marilyn Manson is powerful and convincing, and if one so much as brushes up against it, it’s extraordinarily easy to get sucked into.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Evan Rachel Wood does a masterful job of describing that phenomenon in \u003cem>Phoenix Rising\u003c/em>. She explains that, to his fans and inner circle, Manson isn’t just another shock-rocker, but an intellectual artist who holds a mirror up to society. He’s an icon who gives lost children a safe place to go. He is one of the good guys, dressed up like a bad guy because that’s his artistic vision. And then she spends two and a half hours demonstrating what a bunch of bullshit it all is.\u003c/p>\n\u003cp>Wood also vividly explains why she was the perfect target for Manson. She provides intimate details of her family background, her turbulent teen years and the grooming she experienced. She was 18 and adjusting to fame when they met; he was 37 and still married. These details do an excellent job contextualizing how and why Wood’s relationship with Manson started in the first place, something she has been asked repeatedly to explain. They also show how the appeal of Marilyn Manson works—an essential thing to grasp if the world at large is ever going to understand survivors’ stories.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xJz2zwVogHM'\n title='//www.youtube.com/embed/xJz2zwVogHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wood has already gone on the record, repeatedly, about what happened behind closed doors during the relationship from mid-2006 and early 2011. But nothing yet publicly discussed can fully prepare one for the harrowing details she shares in \u003cem>Phoenix Rising\u003c/em>. She describes rape, scarification, antisemitic abuse (Wood is Jewish), beatings and druggings at Manson’s hands, along with restrictions around what she ate, how long she slept, what she wore and who she saw. (When fellow Manson survivors appear, their stories are equally disturbing.) Wood also talks plainly about an abortion and a suicide attempt directly relating to her time with Manson. None of this—absolutely none of it—is for the faint of heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s impossible to fathom where Wood found the strength to put this documentary out into the world. Especially when it so clearly shows her still processing everything that’s happened. In one moment we see Wood standing her ground as an empowered and determined activist, trying to make a difference for women everywhere. In the next, we see her caught off-guard, shaking or sobbing as a sound or a piece of evidence hurls her back into her past. \u003c/p>\n\u003cp>Nowhere is the schism in Wood’s daily existence clearer than in a scene in which she collapses into violent sobs after \u003ca href=\"https://www.vulture.com/2019/10/evan-rachel-woods-domestic-violence-bill-signed-into-law.html\" target=\"_blank\" rel=\"noopener noreferrer\">successfully extending the statute of limitations for domestic violence\u003c/a> in California. In the courtroom, she is a stoic warrior. Outside its doors, she resembles a broken child. Understanding that the former wouldn’t exist without the latter is painful to witness.\u003c/p>\n\u003cp>Wood uses the word “scared” in \u003cem>Phoenix Rising\u003c/em> more than she probably realizes, and more than I could count. And in giving us access to her day-to-day life, Wood also gives the viewer a glimpse of the lingering terror and insecurity with which all survivors of domestic violence continue to live. When authorities begin building a case against Manson, for example, we see Wood flee her home for a secret, safer location. (You have to wonder: What about the women who don’t have somewhere else to go?) We see her and fellow activist Illma Gore moving boxes of evidence to avoid detection by Manson. At one point she explains that Manson has “made it clear that if I ever said anything, he would come after me. He once said he would fuck up my whole family and … he would start with my dad.”\u003c/p>\n\u003cfigure id=\"attachment_13910206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910206\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/manson-abuse-800x713.png\" alt=\"\" width=\"800\" height=\"713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-800x713.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1020x909.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-160x143.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-768x684.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1536x1368.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse-1920x1710.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/manson-abuse.png 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Evan Rachel Wood, painted by Marilyn Manson, after it’s been used during a therapeutic exercise by Wood. In ‘Phoenix Rising,’ we see her write the list of abuses she says she was subjected to by Marilyn Manson on the portrait in black marker. The words include: raped, beaten, drugged, starved, branded and stalked. \u003ccite>('Phoenix Rising'/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s excruciating to watch Wood describe how Manson’s power as both an icon and an employer prevented numerous bystanders from intervening to assist her and, presumably, the women who came after her. At one point, Wood says Manson flew into a violent rage on tour, and physically dragged her into a hotel room against her will. Wood says a trusted crew member—someone she considered a friend—watched this happen and looked the other way, even as she pleaded for help.\u003c/p>\n\u003cp>The scars from such incidents are so deep that when witnesses admit in the documentary that they were aware of the alleged abuse as it was happening, Wood’s reaction is not one of anger. Rather, she’s palpably relieved to finally have her story corroborated. When one of Manson’s former assistants, Dan Cleary, \u003ca href=\"https://twitter.com/dancleary79/status/1304976908489076739?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">speaks up on Twitter\u003c/a> to back up Wood’s version of events—and the stories of other Manson survivors he knew—she weeps to finally have someone from Manson’s inner circle in her corner. (Cleary appears in \u003cem>Phoenix Rising\u003c/em> at a meeting of survivors.) When crew members from Manson’s infamous “Heart Shaped Glasses” music video come forward to state that Wood was abused on set, she screams “Yes!” even while visibly shaken.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the more surprising elements of \u003cem>Phoenix Rising\u003c/em> is the amount of empathy afforded to Brian Warner—the person Manson was before the creation of his famous alter ego. Warner’s background with a violent father, mentally ill mother and years of bullying by peers is presented respectfully in the first episode. (“There’s no doubt in my mind that he was severely abused,” Wood notes at one point.) Warner’s own traumatic background is presented as a factor in the controlling, racist and abusive person Wood describes. (Excerpts from Manson’s 1998 autobiography, \u003cem>The Long Hard Road Out of Hell\u003c/em>, are used here to demonstrate his awareness of that transformation, as well as his lack of remorse about his violent treatment of women.)\u003c/p>\n\u003cp>On March 2, before \u003cem>Phoenix Rising\u003c/em>’s release, Manson sued Wood and activist Illma Gore for “\u003ca href=\"https://apnews.com/article/entertainment-arts-and-entertainment-media-lawsuits-sexual-abuse-97b5bc35a7e957adf087efb065dc004d\" target=\"_blank\" rel=\"noopener noreferrer\">defamation and intentional infliction of emotional distress\u003c/a>,” as well as damage to his career. He is also requesting a jury trial. The timing is, in all likelihood, designed to coincide with the premiere of \u003cem>Phoenix Rising\u003c/em>, and an attempt to undercut its content. \u003c/p>\n\u003cp>After watching the documentary, I don’t believe for a moment that he will be successful. \u003cem>Phoenix Rising\u003c/em> is an exercise in literally and figuratively building the case against Manson. Even in its smallest details, it never once loses its focus on the big picture. And that picture, by the end, is more monstrous than anything Marilyn Manson ever created on stage or in a studio.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Phoenix Rising’ premieres Tuesday, March 15 on HBO.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Reading Rainbow' is Getting a Reboot Without LeVar Burton",
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"content": "\u003cp>\u003cem>Reading Rainbow\u003c/em> is about to get a reboot tailored to a generation of kids who rarely get their entertainment from broadcast TV. Streaming live this Sunday on the platform Looped, \u003cem>Reading Rainbow Live \u003c/em>is described as an interactive “event” full of music, dancing and games.\u003c/p>\n\u003cp>One glaring omission: LeVar Burton who helped make the brand famous.\u003c/p>\n\u003cp>“Butterflies in the sky…” was the musical cue for young fans that another episode of the original \u003cem>Reading Rainbow \u003c/em>was about to start\u003cem>.\u003c/em> Beginning in 1983, the PBS series was on the air for more than 20 years, winning multiple Emmys and a Peabody Award.\u003c/p>\n\u003cfigure id=\"attachment_13910145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/rrl-logo2-bkgnd-1a706b53fdd64209fc4e69d4f31f24db8fcb765d-800x600.png\" alt=\"The Reading Rainbow logo shows an open book with a rainbow behind it.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The producers behind the original ‘Reading Rainbow’ are launching a new, live “event” on the streaming platform Looped on Sunday. \u003ccite>(Monica Foley with support from Christopher Hyzy/Courtesy of Reading Rainbow Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time around, \u003ca href=\"https://readingrainbowlive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Reading Rainbow Live\u003c/em>\u003c/a> will be hosted by a handful of 20 somethings, dubbed \u003ca href=\"https://readingrainbowlive.com/the-rainbows/\" target=\"_blank\" rel=\"noopener noreferrer\">The Rainbows\u003c/a>. Creative director Amy Guglielmo says young viewers will be able to interact with the cast. “We have an opportunity through Looped to have kids pop in from home, sort of like a souped up Zoom party,” she says.\u003c/p>\n\u003cp>[aside postid='arts_13891275']Sunday’s event is produced by Buffalo Toronto Public Media, the umbrella for WNED, the same PBS station behind the original. Executive Vice President Nancy Hammond says this reboot will not be broadcast. “Kids generally don’t sit down in front of a television to watch TV at an appointed time,” says Hammond, “Kids are watching content on mobile devices. They’re streaming it on their tablets.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meeting kids where they are is something LeVar Burton understood a decade ago. After the TV show was canceled, Burton signed a licensing agreement with WNED to develop digital products for the \u003cem>Reading Rainbow \u003c/em>brand. Through his company RRKidz, he launched the \u003cem>Reading Rainbow\u003c/em> \u003ca href=\"https://bestmobileappawards.com/app-submission/reading-rainbow-app#:~:text=FREE%20to%20try%2C%20the%20all,customized%20to%20your%20child's%20interests.\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a>. Then he began a Kickstarter \u003ca href=\"https://www.kickstarter.com/projects/readingrainbow/bring-reading-rainbow-back-for-every-child-everywh\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> under the banner “Bring Reading Rainbow Back.” Within 24 hours the campaign reached its goal of $1 million. At the time, it was the most \u003ca href=\"http://bit.ly/1iNlLzV\" target=\"_blank\" rel=\"noopener noreferrer\">backed\u003c/a> Kickstarter campaign ever. It ended up raising more than $5 million.\u003c/p>\n\u003cfigure id=\"attachment_13910144\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gettyimages-484545383_custom-d51ca0b423c8aeb1fe7e4b027e9ce23fcfe7be6c-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">LeVar Burton participates in storybook readings during an announcement of Disney Junior’s “Give A Book, Get A Book” program. \u003ccite>(Todd Wawrychuk/Disney Junior via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Kickstarter campaign’s FAQ, Burton wrote that the extra money raised would bring \u003cem>Reading Rainbow\u003c/em> to more kids: “And no matter how much the Kickstarter raises, ALL of the money will be spent on the same two goals: making Reading Rainbow accessible EVERYWHERE (on as many platforms and devices as possible), and to EVERY CHILD (by providing free subscriptions to US/Canadian classrooms that can’t afford it).”\u003c/p>\n\u003cp>[aside postid='arts_13894928']But the folks at WNED did \u003ca href=\"https://current.org/wp-content/uploads/2016/03/WNED-letter-August-2015.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">not\u003c/a> share Burton’s excitement. They sued him, alleging contract and trademark violations. They said he created new \u003cem>Reading Rainbow\u003c/em> episodes and talked to Netflix without their permission. They even took issue with the fact that he was still using the catch phrase, “But, you don’t have to take my word for it.”\u003c/p>\n\u003cp>After a couple of years of bitter legal battles, the parties \u003ca href=\"https://current.org/2017/10/wned-and-levar-burton-terminate-licensing-deal-for-reading-rainbow/\" target=\"_blank\" rel=\"noopener noreferrer\">settled\u003c/a>. Burton changed the name of his company to LeVar Burton Kids.\u003c/p>\n\u003cp>It’s not clear how all of the Kickstarter money has been used. Burton started \u003ca href=\"https://www.skybrary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Skybrary\u003c/a>, a digital library of books and videos which today is operated by the nonprofit Reading Is Fundamental. And he’s got a podcast called \u003ca href=\"https://www.levarburtonpodcast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LeVar Burton Reads\u003c/a>. Burton declined to be interviewed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meantime, WNED is set to bring \u003cem>Reading Rainbow Live\u003c/em> to a new generation with a new cast, a new theme song and a new platform.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Reading+Rainbow%27+is+getting+a+reboot+but+without+LeVar+Burton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Reading Rainbow\u003c/em> is about to get a reboot tailored to a generation of kids who rarely get their entertainment from broadcast TV. Streaming live this Sunday on the platform Looped, \u003cem>Reading Rainbow Live \u003c/em>is described as an interactive “event” full of music, dancing and games.\u003c/p>\n\u003cp>One glaring omission: LeVar Burton who helped make the brand famous.\u003c/p>\n\u003cp>“Butterflies in the sky…” was the musical cue for young fans that another episode of the original \u003cem>Reading Rainbow \u003c/em>was about to start\u003cem>.\u003c/em> Beginning in 1983, the PBS series was on the air for more than 20 years, winning multiple Emmys and a Peabody Award.\u003c/p>\n\u003cfigure id=\"attachment_13910145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/rrl-logo2-bkgnd-1a706b53fdd64209fc4e69d4f31f24db8fcb765d-800x600.png\" alt=\"The Reading Rainbow logo shows an open book with a rainbow behind it.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The producers behind the original ‘Reading Rainbow’ are launching a new, live “event” on the streaming platform Looped on Sunday. \u003ccite>(Monica Foley with support from Christopher Hyzy/Courtesy of Reading Rainbow Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time around, \u003ca href=\"https://readingrainbowlive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Reading Rainbow Live\u003c/em>\u003c/a> will be hosted by a handful of 20 somethings, dubbed \u003ca href=\"https://readingrainbowlive.com/the-rainbows/\" target=\"_blank\" rel=\"noopener noreferrer\">The Rainbows\u003c/a>. Creative director Amy Guglielmo says young viewers will be able to interact with the cast. “We have an opportunity through Looped to have kids pop in from home, sort of like a souped up Zoom party,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sunday’s event is produced by Buffalo Toronto Public Media, the umbrella for WNED, the same PBS station behind the original. Executive Vice President Nancy Hammond says this reboot will not be broadcast. “Kids generally don’t sit down in front of a television to watch TV at an appointed time,” says Hammond, “Kids are watching content on mobile devices. They’re streaming it on their tablets.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meeting kids where they are is something LeVar Burton understood a decade ago. After the TV show was canceled, Burton signed a licensing agreement with WNED to develop digital products for the \u003cem>Reading Rainbow \u003c/em>brand. Through his company RRKidz, he launched the \u003cem>Reading Rainbow\u003c/em> \u003ca href=\"https://bestmobileappawards.com/app-submission/reading-rainbow-app#:~:text=FREE%20to%20try%2C%20the%20all,customized%20to%20your%20child's%20interests.\" target=\"_blank\" rel=\"noopener noreferrer\">app\u003c/a>. Then he began a Kickstarter \u003ca href=\"https://www.kickstarter.com/projects/readingrainbow/bring-reading-rainbow-back-for-every-child-everywh\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> under the banner “Bring Reading Rainbow Back.” Within 24 hours the campaign reached its goal of $1 million. At the time, it was the most \u003ca href=\"http://bit.ly/1iNlLzV\" target=\"_blank\" rel=\"noopener noreferrer\">backed\u003c/a> Kickstarter campaign ever. It ended up raising more than $5 million.\u003c/p>\n\u003cfigure id=\"attachment_13910144\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/gettyimages-484545383_custom-d51ca0b423c8aeb1fe7e4b027e9ce23fcfe7be6c-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">LeVar Burton participates in storybook readings during an announcement of Disney Junior’s “Give A Book, Get A Book” program. \u003ccite>(Todd Wawrychuk/Disney Junior via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Kickstarter campaign’s FAQ, Burton wrote that the extra money raised would bring \u003cem>Reading Rainbow\u003c/em> to more kids: “And no matter how much the Kickstarter raises, ALL of the money will be spent on the same two goals: making Reading Rainbow accessible EVERYWHERE (on as many platforms and devices as possible), and to EVERY CHILD (by providing free subscriptions to US/Canadian classrooms that can’t afford it).”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the folks at WNED did \u003ca href=\"https://current.org/wp-content/uploads/2016/03/WNED-letter-August-2015.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">not\u003c/a> share Burton’s excitement. They sued him, alleging contract and trademark violations. They said he created new \u003cem>Reading Rainbow\u003c/em> episodes and talked to Netflix without their permission. They even took issue with the fact that he was still using the catch phrase, “But, you don’t have to take my word for it.”\u003c/p>\n\u003cp>After a couple of years of bitter legal battles, the parties \u003ca href=\"https://current.org/2017/10/wned-and-levar-burton-terminate-licensing-deal-for-reading-rainbow/\" target=\"_blank\" rel=\"noopener noreferrer\">settled\u003c/a>. Burton changed the name of his company to LeVar Burton Kids.\u003c/p>\n\u003cp>It’s not clear how all of the Kickstarter money has been used. Burton started \u003ca href=\"https://www.skybrary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Skybrary\u003c/a>, a digital library of books and videos which today is operated by the nonprofit Reading Is Fundamental. And he’s got a podcast called \u003ca href=\"https://www.levarburtonpodcast.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LeVar Burton Reads\u003c/a>. Burton declined to be interviewed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meantime, WNED is set to bring \u003cem>Reading Rainbow Live\u003c/em> to a new generation with a new cast, a new theme song and a new platform.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Reading+Rainbow%27+is+getting+a+reboot+but+without+LeVar+Burton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With 17 championship victories since 1949, the Lakers are to the NBA what the Dallas Cowboys are to the NFL: America’s team.\u003c/p>\n\u003cp>But HBO’s new dramatic miniseries \u003ci>Winning Time: The Rise of the Lakers Dynasty\u003c/i> takes us back to a time before the Lakers were loved (and hated) the world over. This was before basketball was “hip, young, and sexy,” as legendary Lakers owner Dr. Jerry Buss (played by John C. Reilly) puts it at the beginning of the first episode.\u003c/p>\n\u003cp>Premiering on March 6, \u003ci>Winning Time\u003c/i> begins in 1979, when the music was great and the haircuts were terrible. Directed by executive producer Adam McKay, the pilot has a vintage look to it, like it was shot on film\u003ci>\u003cspan style=\"font-weight: 400\">—\u003c/span>\u003c/i>grainy frames and all. The style works well with the sparkly, smoke-filled aesthetic of Los Angeles at the turn of the decade. \u003ci>Winning Time\u003c/i> has a lot of the trappings of McKay’s other darkly comedic work dealing with real-world plots, such as \u003ci>Vice\u003c/i> and \u003ci>The Big Short\u003c/i>. Buss often breaks the fourth wall, and McKay lavishes the viewer with stylized montages of real-life historical context. His unconventional approach works well to explain the rise of the NBA and the Lakers to their current heights.\u003c/p>\n\u003cp>https://youtu.be/WqbWwKx1nBU\u003c/p>\n\u003cp>The central plot of the pilot revolves around Buss raising the funds to buy the Lakers from the previous team owner while Magic Johnson (Quincy Isaiah) decides whether to enter the NBA draft or return to college.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two main characters have great chemistry. Reilly is the freewheeling, ever-optimistic Buss, who compares basketball to great sex: “It’s always moving, it’s rhythmic, it’s up close and personal.” And Isaiah is a wide-eyed, smooth-talking Johnson, who isn’t quite “Magic” yet, though he already has the signature smile.\u003c/p>\n\u003cp>It’s Isaiah’s performance as the basketball legend that anchors the show and lends it some of it’s more meaningful moments. Despite his confident demeanor, you can tell the 19-year-old Magic is insecure as he contemplates how much his life will change if he goes pro. \u003ci>Winning Time\u003c/i>’s pilot has a lot to comment on when it comes to how race, class and gender intersected at this formative time in the NBA’s history, when the association was in danger of going bankrupt. However, the show doesn’t take itself too seriously, and there are plenty of funny moments provided by a tightly-written script. A scene that pokes fun at the racially coded language used to compare Magic to his rival and friend Larry Bird stands out, and the antics of the hot-headed Lakers head coach Jerry West (Jason Clarke) are appropriately petulant. [aside postid='arts_13910010']\u003c/p>\n\u003cp>The episode moves right along, like the Showtime Lakers on a fast break, making the hour-long runtime feel almost too short. You don’t have to be a basketball fan to enjoy this show. Magic’s story has classic fish-out-of-water and coming-of-age story elements as the budding star navigates anxieties and fears surrounding the prospect of fame.\u003c/p>\n\u003cp>The show promises a stylized glimpse into ’80s Hollywood, with portrayals of Paula Abdul (Carina Conti), Jack Nicholson (Max E. Williams) and Richard Pryor (Mike Epps) still to come. It will be interesting to see how \u003ci>Winning Time\u003c/i> handles the portrayal of Magic’s AIDS diagnosis in 1991, and to witness how this early version of Magic evolves into the man who became the face of the Lakers franchise.\u003c/p>\n\u003cp>This is ultimately a show about a player, an organization—a whole sport, even—on the verge of greatness. After the first episode, it feels like \u003ci>Winning Time\u003c/i> itself may also be on the verge of something big.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winning Time\u003cem> premieres Sunday, March 6 at 9pm with subsequent episodes airing every Sunday on HBO Max.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With 17 championship victories since 1949, the Lakers are to the NBA what the Dallas Cowboys are to the NFL: America’s team.\u003c/p>\n\u003cp>But HBO’s new dramatic miniseries \u003ci>Winning Time: The Rise of the Lakers Dynasty\u003c/i> takes us back to a time before the Lakers were loved (and hated) the world over. This was before basketball was “hip, young, and sexy,” as legendary Lakers owner Dr. Jerry Buss (played by John C. Reilly) puts it at the beginning of the first episode.\u003c/p>\n\u003cp>Premiering on March 6, \u003ci>Winning Time\u003c/i> begins in 1979, when the music was great and the haircuts were terrible. Directed by executive producer Adam McKay, the pilot has a vintage look to it, like it was shot on film\u003ci>\u003cspan style=\"font-weight: 400\">—\u003c/span>\u003c/i>grainy frames and all. The style works well with the sparkly, smoke-filled aesthetic of Los Angeles at the turn of the decade. \u003ci>Winning Time\u003c/i> has a lot of the trappings of McKay’s other darkly comedic work dealing with real-world plots, such as \u003ci>Vice\u003c/i> and \u003ci>The Big Short\u003c/i>. Buss often breaks the fourth wall, and McKay lavishes the viewer with stylized montages of real-life historical context. His unconventional approach works well to explain the rise of the NBA and the Lakers to their current heights.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WqbWwKx1nBU'\n title='//www.youtube.com/embed/WqbWwKx1nBU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The central plot of the pilot revolves around Buss raising the funds to buy the Lakers from the previous team owner while Magic Johnson (Quincy Isaiah) decides whether to enter the NBA draft or return to college.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two main characters have great chemistry. Reilly is the freewheeling, ever-optimistic Buss, who compares basketball to great sex: “It’s always moving, it’s rhythmic, it’s up close and personal.” And Isaiah is a wide-eyed, smooth-talking Johnson, who isn’t quite “Magic” yet, though he already has the signature smile.\u003c/p>\n\u003cp>It’s Isaiah’s performance as the basketball legend that anchors the show and lends it some of it’s more meaningful moments. Despite his confident demeanor, you can tell the 19-year-old Magic is insecure as he contemplates how much his life will change if he goes pro. \u003ci>Winning Time\u003c/i>’s pilot has a lot to comment on when it comes to how race, class and gender intersected at this formative time in the NBA’s history, when the association was in danger of going bankrupt. However, the show doesn’t take itself too seriously, and there are plenty of funny moments provided by a tightly-written script. A scene that pokes fun at the racially coded language used to compare Magic to his rival and friend Larry Bird stands out, and the antics of the hot-headed Lakers head coach Jerry West (Jason Clarke) are appropriately petulant. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The episode moves right along, like the Showtime Lakers on a fast break, making the hour-long runtime feel almost too short. You don’t have to be a basketball fan to enjoy this show. Magic’s story has classic fish-out-of-water and coming-of-age story elements as the budding star navigates anxieties and fears surrounding the prospect of fame.\u003c/p>\n\u003cp>The show promises a stylized glimpse into ’80s Hollywood, with portrayals of Paula Abdul (Carina Conti), Jack Nicholson (Max E. Williams) and Richard Pryor (Mike Epps) still to come. It will be interesting to see how \u003ci>Winning Time\u003c/i> handles the portrayal of Magic’s AIDS diagnosis in 1991, and to witness how this early version of Magic evolves into the man who became the face of the Lakers franchise.\u003c/p>\n\u003cp>This is ultimately a show about a player, an organization—a whole sport, even—on the verge of greatness. After the first episode, it feels like \u003ci>Winning Time\u003c/i> itself may also be on the verge of something big.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winning Time\u003cem> premieres Sunday, March 6 at 9pm with subsequent episodes airing every Sunday on HBO Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "UC Berkeley’s Famous Peregrine Falcon, Annie, Just Faked Her Own Death",
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"content": "\u003cp>The terrible news broke on Monday. “We believe that Annie has either been displaced from the territory, is injured or dead.”\u003c/p>\n\u003cp>The very credible tweet was delivered by the ornithologists who’ve been watching over UC Berkeley’s resident peregrine falcons, Annie and Grinnell, for the last five years.\u003c/p>\n\u003cp>[aside postid='arts_13907837']“It’s incredibly difficult to say goodbye to Annie. She was a wonderful mother and raised 13 chicks in five broods,” the \u003ca href=\"https://twitter.com/CalFalconCam/status/1498374903149510660\" target=\"_blank\" rel=\"noopener noreferrer\">CalFalconCam experts continued in their Twitter obituary\u003c/a>. “We are going to miss Annie immensely, but we are so grateful for the five years we got to spend with her and her chicks.”\u003c/p>\n\u003cp>The news came as a blow to fans of the avian couple who, just a few months ago, were worried that Annie and Grinnell’s long-term relationship was over, thanks to \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\" target=\"_blank\" rel=\"noopener noreferrer\">a flirty falcon who had beaten up Grinnell and set his sights on Annie\u003c/a>. There were sighs of relief all round after the beloved pair reunited in plenty of time for Valentine’s Day. News of Annie’s potential demise clearly came as a very sad shock. “So, so hope Annie has simply left the area in good health,” \u003ca href=\"https://twitter.com/SK_Pollock/status/1498377934242942980\" target=\"_blank\" rel=\"noopener noreferrer\">one fan wrote\u003c/a>. “Extremely sorry to hear this news,” \u003ca href=\"https://twitter.com/CoriMcCoriCori/status/1498375809790324737\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted another\u003c/a>. “I’ve loved following Annie and Grinnell’s story and will truly miss her.”\u003c/p>\n\u003cp>https://twitter.com/Fyght4Cal/status/1498379356917284867\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then on Tuesday, out of the clear blue sky, Annie swooped back onto the UC Berkeley Campanile, screamed “SIKE!” at all the lady birds trying to move into her nest, and coldly demanded Grinnell fetch her a dead pigeon to feast on. Just kidding. But she \u003cem>did\u003c/em> come back.\u003c/p>\n\u003cp>On Tuesday morning, the (now obviously very confused) ornithologists hit Twitter once more to say sorry for presuming Annie was dead. “Uh… this is something we’ve never seen before,” their message began. “Annie is back! We’ve never, in our years of monitoring peregrine nests had a female disappear during the peak of breeding season and reappear a week later like nothing had changed.” (Consider this definitive proof that Annie simply isn’t like other falcons!)\u003c/p>\n\u003cp>https://twitter.com/CalFalconCam/status/1498743398244700164\u003c/p>\n\u003cp>“We have to take a moment to sincerely apologize,” the scientists continued as if Annie hadn’t planned the whole thing to get more Twitter followers. “But this is something that is totally unexpected and goes against pretty much everything we’ve seen.”\u003c/p>\n\u003cp>Needless to say, Annie and Grinnell fans rushed to celebrate the return of the best faker in falcon history.\u003c/p>\n\u003cp>https://twitter.com/CalFalconCam/status/1498760415890845709\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13909963\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/20220301_180141-800x1244.jpg\" alt=\"\" width=\"800\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-800x1244.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-1020x1587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-768x1195.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141-987x1536.jpg 987w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/20220301_180141.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>https://twitter.com/joliclown/status/1498839051415085059\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Welcome back, Annie.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s incredibly difficult to say goodbye to Annie. She was a wonderful mother and raised 13 chicks in five broods,” the \u003ca href=\"https://twitter.com/CalFalconCam/status/1498374903149510660\" target=\"_blank\" rel=\"noopener noreferrer\">CalFalconCam experts continued in their Twitter obituary\u003c/a>. “We are going to miss Annie immensely, but we are so grateful for the five years we got to spend with her and her chicks.”\u003c/p>\n\u003cp>The news came as a blow to fans of the avian couple who, just a few months ago, were worried that Annie and Grinnell’s long-term relationship was over, thanks to \u003ca href=\"https://www.kqed.org/arts/13907837/peregrine-falcon-annie-grinnel-berkeley-campanile-birdwatching\" target=\"_blank\" rel=\"noopener noreferrer\">a flirty falcon who had beaten up Grinnell and set his sights on Annie\u003c/a>. There were sighs of relief all round after the beloved pair reunited in plenty of time for Valentine’s Day. News of Annie’s potential demise clearly came as a very sad shock. “So, so hope Annie has simply left the area in good health,” \u003ca href=\"https://twitter.com/SK_Pollock/status/1498377934242942980\" target=\"_blank\" rel=\"noopener noreferrer\">one fan wrote\u003c/a>. “Extremely sorry to hear this news,” \u003ca href=\"https://twitter.com/CoriMcCoriCori/status/1498375809790324737\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted another\u003c/a>. “I’ve loved following Annie and Grinnell’s story and will truly miss her.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then on Tuesday, out of the clear blue sky, Annie swooped back onto the UC Berkeley Campanile, screamed “SIKE!” at all the lady birds trying to move into her nest, and coldly demanded Grinnell fetch her a dead pigeon to feast on. Just kidding. But she \u003cem>did\u003c/em> come back.\u003c/p>\n\u003cp>On Tuesday morning, the (now obviously very confused) ornithologists hit Twitter once more to say sorry for presuming Annie was dead. “Uh… this is something we’ve never seen before,” their message began. “Annie is back! We’ve never, in our years of monitoring peregrine nests had a female disappear during the peak of breeding season and reappear a week later like nothing had changed.” (Consider this definitive proof that Annie simply isn’t like other falcons!)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“We have to take a moment to sincerely apologize,” the scientists continued as if Annie hadn’t planned the whole thing to get more Twitter followers. “But this is something that is totally unexpected and goes against pretty much everything we’ve seen.”\u003c/p>\n\u003cp>Needless to say, Annie and Grinnell fans rushed to celebrate the return of the best faker in falcon history.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last week, MC Hammer started trending on Twitter for a viral photo of Big Syke, Suge Knight, Snoop Dogg, Tupac and Hammer lined up together at the 1996 Grammys, in all of their ’90s finery. Hammer stood on the far right, arms neatly crossed behind his back, smiling while everyone else mean-mugged. The tweet read: “I don’t think I’ve ever seen anyone more out of place than Hammer was in this photo lol.”\u003c/p>\n\u003cp>Twitter did not hesitate to set the record straight about the Oakland legend, explaining in no uncertain terms that Hammer—despite his legendarily flappy pants, pop superstardom, and ability to win over your mom—did not come to play.\u003c/p>\n\u003cp>https://twitter.com/J_Ran85/status/1497067106818478090\u003c/p>\n\u003cp>https://twitter.com/KieseLaymon/status/1497222235651719202\u003c/p>\n\u003cp>https://twitter.com/SHARMONJONES/status/1497083798919561224\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CerromeRussell/status/1497059859090579458\u003c/p>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vQFlRUCp5r0\u003c/p>\n\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0fyqEYQQW2U\u003c/p>\n\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aOHupZPsWD0\u003c/p>\n\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tuwwd7eb-lA\u003c/p>\n\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\n\u003cp>https://twitter.com/__Eddie313/status/1497071531930832899\u003c/p>\n\u003cp>Let’s end with an apt word from the man himself…\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=otCpCn0l4Wo\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vQFlRUCp5r0'\n title='//www.youtube.com/embed/vQFlRUCp5r0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0fyqEYQQW2U'\n title='//www.youtube.com/embed/0fyqEYQQW2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aOHupZPsWD0'\n title='//www.youtube.com/embed/aOHupZPsWD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tuwwd7eb-lA'\n title='//www.youtube.com/embed/tuwwd7eb-lA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\u003c/p>\u003c/div>",
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"title": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster",
"headTitle": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster | KQED",
"content": "\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13905720']“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Five Big Takeaways From the SAG Awards—and What They Might Mean for the Oscars",
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"content": "\u003cp>The Screen Actors Guild Awards happened on Sunday night—the first of the guilds to give out their big prizes this season. The guilds—your Screen Actors Guild, but also your Directors Guild and your Producers Guild and your Writers Guild—make particularly interesting predictors of Oscar season (unlike, for instance, the Golden Globes), because they are chosen by some of the same voters. That can make guild awards solid predictors, or at least as solid as any. For instance, before \u003cem>Parasite \u003c/em>won what was originally considered a longshot best picture Oscar two years ago, it picked up a win at the SAG Awards, and that’s when its win for best picture started to look like a shot that was not quite so long.\u003c/p>\n\u003cp>So what can we take away from\u003ca href=\"https://www.sagawards.org/awards/nominees-and-recipients/28th-annual-screen-actors-guild-awards\" target=\"_blank\" rel=\"noopener noreferrer\"> Sunday night’s wins\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13909100']1. \u003cstrong>Here comes \u003c/strong>\u003cstrong>\u003cem>Squid Game\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> The South Korean drama series about a game that offers participants the chance to get out of debt or literally die trying won big in television drama: Lee Jung-jae and Jung Ho-yeon won for lead actor and actress, and the show’s stunt ensemble won in their category as well. (The SAG Awards are one of the only places where stunt performers are honored, a regrettable omission elsewhere that was noted by my colleague Glen Weldon in a recent \u003ca href=\"https://www.npr.org/2022/02/27/1082867039/we-love-the-oscars-but-we-need-to-talk-about-those-awards-ceremony-changes\" target=\"_blank\" rel=\"noopener noreferrer\">lament about the Oscars\u003c/a>.)\u003c/p>\n\u003cp>When the Emmys come around in the fall, will \u003cem>Squid Game \u003c/em>manage to beat out the lauded \u003cem>Succession\u003c/em>, the cast of which won last night’s ensemble award? It’s always hard to know when popularity—hotness, if you will—is going to translate into awards recognition. Early signs for \u003cem>Squid Game \u003c/em>(and thus Netflix) are good, but \u003cem>Succession \u003c/em>is still a beast, and it had a very good third season. Should be a good fight.\u003c/p>\n\u003cp>2. \u003cem>\u003cstrong>CODA \u003c/strong>\u003c/em>\u003cstrong>is getting some good momentum. \u003c/strong>\u003cem>CODA\u003c/em>, the \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\" target=\"_blank\" rel=\"noopener noreferrer\">crowd-pleaser\u003c/a> about a young girl named Ruby getting ready to leave for college (or not), won the award for its ensemble—the closest thing the SAG Awards have to best picture. And Troy Kotsur, who plays Ruby’s father, won the supporting actor award. Note that Kotsur was the first deaf actor to win a solo SAG award, and the cast was the first predominantly deaf cast to win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13901279']The film has been on a bit of a roller-coaster: When it came out at Sundance, it was lauded and sold for a ton of money; hopes were high. But maybe because it sold to Apple TV, still a service that doesn’t have the reach of something like Netflix, and maybe because its theatrical release came in August, when theatrical attendance was still pretty rickety, it seemed to fade a little in the public consciousness.\u003c/p>\n\u003cp>Until recently, it felt to me—this, admittedly, is my extremely unscientific gut instinct—that best picture would probably go to either \u003cem>Power of the Dog \u003c/em>or \u003cem>Don’t Look Up\u003c/em>, but it’s easy to wonder whether \u003cem>CODA \u003c/em>might sneak in there. A crowd-pleaser does, after all, sometimes please just enough of the crowd.\u003c/p>\n\u003cp>\u003cstrong>3. Will Smith may be close.\u003c/strong> Will Smith has been nominated for Oscars twice before, for \u003cem>The Pursuit of Happyness \u003c/em>and \u003cem>Ali\u003c/em>. Some of his other performances have felt, for lack of a better word, awards-y, but have not been nominated: your \u003cem>Concussion\u003c/em>, your \u003cem>Seven Pounds\u003c/em>, and so forth. This year, he’s nominated for \u003cem>King Richard. \u003c/em>He’s already won the Golden Globe—but as we’ve discussed in the past, that doesn’t tell you much. Now, however, he’s won the SAG Award, which advances the notion that we may be looking at the Will Smith Oscar year.\u003c/p>\n\u003cp>[aside postid='arts_13906308']\u003cstrong>4. Your movie doesn’t have to be a big knockout for you to win.\u003c/strong> Full disclosure: \u003cem>The Eyes of Tammy Faye \u003c/em>is still on my Oscar spreadsheet as “To Watch,” not as “Watched.” But that film was nominated for just two Oscars: Jessica Chastain for best actress and the film’s makeup and hairstyling. It’s not a huge haul, and the reviews were what we might call good-not-great. Nevertheless, Chastain won the SAG on Sunday, and like Will Smith, she’s on her third Oscar nomination. But if she beats out, on Oscar night, Nicole Kidman, Olivia Colman, Kristen Stewart and Penélope Cruz? That’s a big win for a movie that has not necessarily been prominent this season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. It’s an Ariana DeBose world.\u003c/strong> Ariana DeBose won for \u003cem>West Side Story \u003c/em>on Sunday, continuing—as a couple of folks noted—\u003ca href=\"https://twitter.com/joereid/status/1498106770119663620?cxt=HHwWiIC5yfGKrMopAAAA\" target=\"_blank\" rel=\"noopener noreferrer\">a talent pipeline\u003c/a> from Fox’s reality show \u003cem>So You Think You Can Dance\u003c/em>. But more directly, DeBose is just on a huge roll, and while there aren’t a lot of “rising star” stories anymore where \u003cem>everybody \u003c/em>seems to think the person is just luminous and fabulous, she’s got what feels like an extremely high approval rating at this point. \u003ca href=\"https://variety.com/2022/awards/news/ariana-debose-sag-winner-latina-1235186004/\" target=\"_blank\" rel=\"noopener noreferrer\">She’s also the first Latina actress and the first openly queer woman of color to win\u003c/a> for film. If you’re looking for a good story this Oscar season, look no further.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Five+big+takeaways+from+the+SAG+Awards+%E2%80%94+and+what+they+might+mean+for+the+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Screen Actors Guild Awards happened on Sunday night—the first of the guilds to give out their big prizes this season. The guilds—your Screen Actors Guild, but also your Directors Guild and your Producers Guild and your Writers Guild—make particularly interesting predictors of Oscar season (unlike, for instance, the Golden Globes), because they are chosen by some of the same voters. That can make guild awards solid predictors, or at least as solid as any. For instance, before \u003cem>Parasite \u003c/em>won what was originally considered a longshot best picture Oscar two years ago, it picked up a win at the SAG Awards, and that’s when its win for best picture started to look like a shot that was not quite so long.\u003c/p>\n\u003cp>So what can we take away from\u003ca href=\"https://www.sagawards.org/awards/nominees-and-recipients/28th-annual-screen-actors-guild-awards\" target=\"_blank\" rel=\"noopener noreferrer\"> Sunday night’s wins\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1. \u003cstrong>Here comes \u003c/strong>\u003cstrong>\u003cem>Squid Game\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> The South Korean drama series about a game that offers participants the chance to get out of debt or literally die trying won big in television drama: Lee Jung-jae and Jung Ho-yeon won for lead actor and actress, and the show’s stunt ensemble won in their category as well. (The SAG Awards are one of the only places where stunt performers are honored, a regrettable omission elsewhere that was noted by my colleague Glen Weldon in a recent \u003ca href=\"https://www.npr.org/2022/02/27/1082867039/we-love-the-oscars-but-we-need-to-talk-about-those-awards-ceremony-changes\" target=\"_blank\" rel=\"noopener noreferrer\">lament about the Oscars\u003c/a>.)\u003c/p>\n\u003cp>When the Emmys come around in the fall, will \u003cem>Squid Game \u003c/em>manage to beat out the lauded \u003cem>Succession\u003c/em>, the cast of which won last night’s ensemble award? It’s always hard to know when popularity—hotness, if you will—is going to translate into awards recognition. Early signs for \u003cem>Squid Game \u003c/em>(and thus Netflix) are good, but \u003cem>Succession \u003c/em>is still a beast, and it had a very good third season. Should be a good fight.\u003c/p>\n\u003cp>2. \u003cem>\u003cstrong>CODA \u003c/strong>\u003c/em>\u003cstrong>is getting some good momentum. \u003c/strong>\u003cem>CODA\u003c/em>, the \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\" target=\"_blank\" rel=\"noopener noreferrer\">crowd-pleaser\u003c/a> about a young girl named Ruby getting ready to leave for college (or not), won the award for its ensemble—the closest thing the SAG Awards have to best picture. And Troy Kotsur, who plays Ruby’s father, won the supporting actor award. Note that Kotsur was the first deaf actor to win a solo SAG award, and the cast was the first predominantly deaf cast to win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film has been on a bit of a roller-coaster: When it came out at Sundance, it was lauded and sold for a ton of money; hopes were high. But maybe because it sold to Apple TV, still a service that doesn’t have the reach of something like Netflix, and maybe because its theatrical release came in August, when theatrical attendance was still pretty rickety, it seemed to fade a little in the public consciousness.\u003c/p>\n\u003cp>Until recently, it felt to me—this, admittedly, is my extremely unscientific gut instinct—that best picture would probably go to either \u003cem>Power of the Dog \u003c/em>or \u003cem>Don’t Look Up\u003c/em>, but it’s easy to wonder whether \u003cem>CODA \u003c/em>might sneak in there. A crowd-pleaser does, after all, sometimes please just enough of the crowd.\u003c/p>\n\u003cp>\u003cstrong>3. Will Smith may be close.\u003c/strong> Will Smith has been nominated for Oscars twice before, for \u003cem>The Pursuit of Happyness \u003c/em>and \u003cem>Ali\u003c/em>. Some of his other performances have felt, for lack of a better word, awards-y, but have not been nominated: your \u003cem>Concussion\u003c/em>, your \u003cem>Seven Pounds\u003c/em>, and so forth. This year, he’s nominated for \u003cem>King Richard. \u003c/em>He’s already won the Golden Globe—but as we’ve discussed in the past, that doesn’t tell you much. Now, however, he’s won the SAG Award, which advances the notion that we may be looking at the Will Smith Oscar year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>4. Your movie doesn’t have to be a big knockout for you to win.\u003c/strong> Full disclosure: \u003cem>The Eyes of Tammy Faye \u003c/em>is still on my Oscar spreadsheet as “To Watch,” not as “Watched.” But that film was nominated for just two Oscars: Jessica Chastain for best actress and the film’s makeup and hairstyling. It’s not a huge haul, and the reviews were what we might call good-not-great. Nevertheless, Chastain won the SAG on Sunday, and like Will Smith, she’s on her third Oscar nomination. But if she beats out, on Oscar night, Nicole Kidman, Olivia Colman, Kristen Stewart and Penélope Cruz? That’s a big win for a movie that has not necessarily been prominent this season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. It’s an Ariana DeBose world.\u003c/strong> Ariana DeBose won for \u003cem>West Side Story \u003c/em>on Sunday, continuing—as a couple of folks noted—\u003ca href=\"https://twitter.com/joereid/status/1498106770119663620?cxt=HHwWiIC5yfGKrMopAAAA\" target=\"_blank\" rel=\"noopener noreferrer\">a talent pipeline\u003c/a> from Fox’s reality show \u003cem>So You Think You Can Dance\u003c/em>. But more directly, DeBose is just on a huge roll, and while there aren’t a lot of “rising star” stories anymore where \u003cem>everybody \u003c/em>seems to think the person is just luminous and fabulous, she’s got what feels like an extremely high approval rating at this point. \u003ca href=\"https://variety.com/2022/awards/news/ariana-debose-sag-winner-latina-1235186004/\" target=\"_blank\" rel=\"noopener noreferrer\">She’s also the first Latina actress and the first openly queer woman of color to win\u003c/a> for film. If you’re looking for a good story this Oscar season, look no further.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Five+big+takeaways+from+the+SAG+Awards+%E2%80%94+and+what+they+might+mean+for+the+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking back, I don’t know why I agreed to do this, why I submitted myself to video game masochism. I don’t know why I thought my first experience with a FromSoftware game would be like every other video game review: 30 hours gone, game finished, review written, thank you and goodnight.\u003c/p>\n\u003cp>And yet—30 hours into \u003cem>Elden Ring\u003c/em>, I’ve barely made a dent. I didn’t realize until now that I could have so much fun making myself so miserable.\u003c/p>\n\u003ch3>Beauty and brutality\u003c/h3>\n\u003cp>\u003cem>Elden Ring \u003c/em>is forbidding, majestic, and sick in every sense of the word. Its overarching story about a fallen kingdom is deliberately obtuse—an unspecified amount was written by \u003cem>Game of Thrones \u003c/em>author George R. R. Martin, the rest by \u003cem>Dark Souls \u003c/em>mastermind Hidetaka Miyazaki. Its setting, the Lands Between, is filled with countless little delights, like the roaming sheep that roll away armadillo style when you get too close. But they’re also home to countless nightmares, like giant dragonflies that harass you while you’re menaced by roving bands of desiccated peasants, towering knights, or flame-breathing dragons. These vast landscapes largely replace the dense, layered levels that \u003cem>Dark Souls \u003c/em>was famous for. In \u003cem>Elden Ring\u003c/em>, though, the opportunity to survey diverse terrain—whether a noxious swampland or gusty prairie—produces an injection of gaming dopamine (and some genuine fear, too).\u003c/p>\n\u003cfigure id=\"attachment_13909714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_04_4k-15314260c26daa6b8358.17245322_wide-dcd6173b9ce241ff72a77dcadccca4f21b2b297d-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Our hero squares off against a roving mounted adversary. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s made all the better by your trusty steed, Torrent—a beautiful creature resembling an elk. Whistle and he’ll materialize beneath you, ready to ride. While he’s inaccessible in the game’s many dungeons, Torrent also gives you an offensive edge, as you can cut down hordes from atop the saddle better than you could on foot. His best feature, however, is his double-jump. Yes, that’s right—\u003cem>Breath of the Wild \u003c/em>horses have nothing on him! Use Torrent to hop up cliffs or leap down ravines to mitigate fall damage that would normally kill you. But take care; while Torrent can make you feel invincible, great heights or particularly surly adversaries can still defeat you.\u003c/p>\n\u003cp>Yet despite these innovations in world design and traversal, FromSoftware remains true to their traditional boss formula, often throwing you—a comparatively puny warrior—into a dimly-lit colosseum to brawl with some gruesomely powerful cretin. But when this gruesomely powerful cretin’s health bar is \u003cem>finally\u003c/em> sliced down to zero, after quite literally 43 tries (yes, I counted for the first boss), that’s when the celebration ensues. It looks like this: a 24-year-old with sweaty palms and a sprinting heart rate jumps off his couch and screams, “F*** YES! FINALLY!” and hurriedly texts his roommate the news.\u003c/p>\n\u003cfigure id=\"attachment_13909715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early boss, Godrick the Grafted. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A sparse, grim world\u003c/h3>\n\u003cp>\u003cem>Elden Ring’s \u003c/em>aesthetic also deserves recognition, even if it doesn’t match the glamor or realism of rival open world games. Instead, it goes out of its way to make you feel small. The Erdtree—gargantuan and golden—looms over the entire map, its flaxen, ethereal leaves falling slowly to the deathly ground beneath it. It’s a shining beacon in an otherwise dark, medieval world, seemingly always out of reach. While the terrain can be sparse, replete with interchangeable ruins, I find myself often retreating from the endless onslaught to take a screenshot of my surroundings. Stormveil Castle’s busted turrets or the murky waters of Liurnia of the Lakes provide a mystifying backdrop while you’re slowly poisoned, bloodied or ripped to shreds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_98083']It’s during these moments of pain and suffering, however, where \u003cem>Elden Ring \u003c/em>paradoxically shines brightest. In other titles, death can feel cheap. Nintendo games, for instance, aren’t \u003cem>that\u003c/em> challenging, so combat can feel arbitrary; after internalizing an enemy’s simple attack pattern, most experienced gamers will win after a few tries.\u003c/p>\n\u003cp>\u003cem>Elden Ring\u003c/em>, by contrast, refuses to hold your hand. An enemy takes three massive swings, and before you can evade, a final anticipatory strike takes out the rest of your precious health bar. The game constantly backs you into a corner, forcing you to make snap decisions. You’ll dodge prematurely into an opponent’s ax. You’ll lunge only to misjudge the distance and end up exposed. In a desperate retreat, you’ll find yourself impaled on an unseen enemy’s blade. But practice does eventually make perfect. Besting a boss is a wave of pure relief and satisfaction unlike any I’ve felt in other video games.\u003c/p>\n\u003cfigure id=\"attachment_13909716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surveying the Lands Between. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A little help from friends\u003c/h3>\n\u003cp>Thankfully, you’re not alone in the fight. \u003cem>Elden Ring\u003c/em> follows prior \u003cem>Souls \u003c/em>games in allowing you to summon other characters or players to help. But it also innovates with a system not unlike \u003cem>Pokemon.\u003c/em> You can collect Spirit Ashes of enemies, allowing you to occasionally beckon versions of them as allies. Even if the ghostly dogs, skeletons, or jellyfish aren’t great for dishing damage, they distract foes for long enough to help even the odds.\u003c/p>\n\u003cp>[aside postid='arts_13654506']What surprised me most about \u003cem>Elden Ring\u003c/em>, though, is how much I genuinely laughed out loud while playing. It’s astonishingly hard, but rather than mutter and groan, I was reassured to know that other players will experience the exact same trials and tribulations. At a time where lots of people, including myself, are anxious, I wasn’t sure I’d want to play something so punishing. It’s easy to pick up my staple games for Nintendo Switch and shut off my brain. But after realizing how exciting it was to conquer my fears, explore the Lands Between, and die over and over, \u003cem>Elden Ring \u003c/em>became a joy, especially as my roommate watched on and laughed at my inevitable destruction.\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for Join The Game. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\" target=\"_blank\" rel=\"noopener noreferrer\">@kelbot_\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino contributed to this review.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Review%3A+How+I+learned+to+stop+worrying+and+love+the+deathly+delights+of+%27Elden+Ring%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back, I don’t know why I agreed to do this, why I submitted myself to video game masochism. I don’t know why I thought my first experience with a FromSoftware game would be like every other video game review: 30 hours gone, game finished, review written, thank you and goodnight.\u003c/p>\n\u003cp>And yet—30 hours into \u003cem>Elden Ring\u003c/em>, I’ve barely made a dent. I didn’t realize until now that I could have so much fun making myself so miserable.\u003c/p>\n\u003ch3>Beauty and brutality\u003c/h3>\n\u003cp>\u003cem>Elden Ring \u003c/em>is forbidding, majestic, and sick in every sense of the word. Its overarching story about a fallen kingdom is deliberately obtuse—an unspecified amount was written by \u003cem>Game of Thrones \u003c/em>author George R. R. Martin, the rest by \u003cem>Dark Souls \u003c/em>mastermind Hidetaka Miyazaki. Its setting, the Lands Between, is filled with countless little delights, like the roaming sheep that roll away armadillo style when you get too close. But they’re also home to countless nightmares, like giant dragonflies that harass you while you’re menaced by roving bands of desiccated peasants, towering knights, or flame-breathing dragons. These vast landscapes largely replace the dense, layered levels that \u003cem>Dark Souls \u003c/em>was famous for. In \u003cem>Elden Ring\u003c/em>, though, the opportunity to survey diverse terrain—whether a noxious swampland or gusty prairie—produces an injection of gaming dopamine (and some genuine fear, too).\u003c/p>\n\u003cfigure id=\"attachment_13909714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_04_4k-15314260c26daa6b8358.17245322_wide-dcd6173b9ce241ff72a77dcadccca4f21b2b297d-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Our hero squares off against a roving mounted adversary. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s made all the better by your trusty steed, Torrent—a beautiful creature resembling an elk. Whistle and he’ll materialize beneath you, ready to ride. While he’s inaccessible in the game’s many dungeons, Torrent also gives you an offensive edge, as you can cut down hordes from atop the saddle better than you could on foot. His best feature, however, is his double-jump. Yes, that’s right—\u003cem>Breath of the Wild \u003c/em>horses have nothing on him! Use Torrent to hop up cliffs or leap down ravines to mitigate fall damage that would normally kill you. But take care; while Torrent can make you feel invincible, great heights or particularly surly adversaries can still defeat you.\u003c/p>\n\u003cp>Yet despite these innovations in world design and traversal, FromSoftware remains true to their traditional boss formula, often throwing you—a comparatively puny warrior—into a dimly-lit colosseum to brawl with some gruesomely powerful cretin. But when this gruesomely powerful cretin’s health bar is \u003cem>finally\u003c/em> sliced down to zero, after quite literally 43 tries (yes, I counted for the first boss), that’s when the celebration ensues. It looks like this: a 24-year-old with sweaty palms and a sprinting heart rate jumps off his couch and screams, “F*** YES! FINALLY!” and hurriedly texts his roommate the news.\u003c/p>\n\u003cfigure id=\"attachment_13909715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/eldenring_12_4k-15314260c26db292d294.19097828_wide-161dfc66bc811e88068d50172fabcdd854b56778-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early boss, Godrick the Grafted. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A sparse, grim world\u003c/h3>\n\u003cp>\u003cem>Elden Ring’s \u003c/em>aesthetic also deserves recognition, even if it doesn’t match the glamor or realism of rival open world games. Instead, it goes out of its way to make you feel small. The Erdtree—gargantuan and golden—looms over the entire map, its flaxen, ethereal leaves falling slowly to the deathly ground beneath it. It’s a shining beacon in an otherwise dark, medieval world, seemingly always out of reach. While the terrain can be sparse, replete with interchangeable ruins, I find myself often retreating from the endless onslaught to take a screenshot of my surroundings. Stormveil Castle’s busted turrets or the murky waters of Liurnia of the Lakes provide a mystifying backdrop while you’re slowly poisoned, bloodied or ripped to shreds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s during these moments of pain and suffering, however, where \u003cem>Elden Ring \u003c/em>paradoxically shines brightest. In other titles, death can feel cheap. Nintendo games, for instance, aren’t \u003cem>that\u003c/em> challenging, so combat can feel arbitrary; after internalizing an enemy’s simple attack pattern, most experienced gamers will win after a few tries.\u003c/p>\n\u003cp>\u003cem>Elden Ring\u003c/em>, by contrast, refuses to hold your hand. An enemy takes three massive swings, and before you can evade, a final anticipatory strike takes out the rest of your precious health bar. The game constantly backs you into a corner, forcing you to make snap decisions. You’ll dodge prematurely into an opponent’s ax. You’ll lunge only to misjudge the distance and end up exposed. In a desperate retreat, you’ll find yourself impaled on an unseen enemy’s blade. But practice does eventually make perfect. Besting a boss is a wave of pure relief and satisfaction unlike any I’ve felt in other video games.\u003c/p>\n\u003cfigure id=\"attachment_13909716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/keller-screenshot_wide-0f7968999cf0ea570071978d9925b02582b31171-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surveying the Lands Between. \u003ccite>(FromSoftware)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A little help from friends\u003c/h3>\n\u003cp>Thankfully, you’re not alone in the fight. \u003cem>Elden Ring\u003c/em> follows prior \u003cem>Souls \u003c/em>games in allowing you to summon other characters or players to help. But it also innovates with a system not unlike \u003cem>Pokemon.\u003c/em> You can collect Spirit Ashes of enemies, allowing you to occasionally beckon versions of them as allies. Even if the ghostly dogs, skeletons, or jellyfish aren’t great for dishing damage, they distract foes for long enough to help even the odds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What surprised me most about \u003cem>Elden Ring\u003c/em>, though, is how much I genuinely laughed out loud while playing. It’s astonishingly hard, but rather than mutter and groan, I was reassured to know that other players will experience the exact same trials and tribulations. At a time where lots of people, including myself, are anxious, I wasn’t sure I’d want to play something so punishing. It’s easy to pick up my staple games for Nintendo Switch and shut off my brain. But after realizing how exciting it was to conquer my fears, explore the Lands Between, and die over and over, \u003cem>Elden Ring \u003c/em>became a joy, especially as my roommate watched on and laughed at my inevitable destruction.\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for Join The Game. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\" target=\"_blank\" rel=\"noopener noreferrer\">@kelbot_\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino contributed to this review.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Review%3A+How+I+learned+to+stop+worrying+and+love+the+deathly+delights+of+%27Elden+Ring%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix's 'jeen-yuhs: A Kanye Trilogy' is (Mostly) Genius",
"headTitle": "Netflix’s ‘jeen-yuhs: A Kanye Trilogy’ is (Mostly) Genius | KQED",
"content": "\u003cp>Netflix’s new docuseries, \u003cem>jeen-yuhs: A Kanye Trilogy\u003c/em>, is truly genius… for the first two-thirds, at least.\u003c/p>\n\u003cp>That’s not a bad average for an ambitious project: Assembled from footage recorded by old friends who have been trailing the mercurial rap star with a camera for over 20 years, \u003cem>jeen-yuhs\u003c/em> spans more than four hours divided into chunks about 90 minutes each.\u003c/p>\n\u003cp>[aside postid='pop_103462']The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X3d5rT7FGLE\u003c/p>\n\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>[aside postid='arts_13908594']Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uvb-1wjAtk4\u003c/p>\n\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>[aside postid='pop_49104']Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And is he okay now?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X3d5rT7FGLE'\n title='//www.youtube.com/embed/X3d5rT7FGLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uvb-1wjAtk4'\n title='//www.youtube.com/embed/uvb-1wjAtk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And is he okay now?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the Thriller 'Severance,' Adam Scott's Humanity Hangs in the (Work-Life) Balance",
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"content": "\u003cp>Make no mistake: That lengthy tracking shot near the top of the first episode of \u003cem>Severance\u003c/em>, Apple TV+’s darkly funny, hugely imaginative corporate-thriller series, is all about swagger.\u003c/p>\n\u003cp>The camera follows Adam Scott’s Mark through the spare, white, featureless fluorescent halls of Lumon Industries as he walks to his sad little cubicle. And it’s a long, circuitous walk, because the floor on which he works appears to contain very few actual workspaces, and instead seems composed almost entirely of those endless, labyrinthine hallways.\u003c/p>\n\u003cp>[aside postid='arts_13908773']The aforementioned swagger isn’t possessed by Mark himself, who seems a dutifully nice, unassuming sort. No, that slow-burn start is all about \u003cem>Severance \u003c/em>(and creator Dan Erickson, and director Ben Stiller) confidently calling its shot, saying: We’re going somewhere, somewhere specific and stylized. We may take our time getting there, but if you hang with us, it’ll be worth it.\u003c/p>\n\u003cp>For some viewers, the line between swagger and self-indulgence is a thin one, and the unhurried nature of the show’s early going will prove a deal-breaker. For me, the world of this series is so fully imagined, so refreshingly singular—plus it just keeps on getting \u003cem>weirder—\u003c/em>that I was only too happy to strap in, and was grateful I did.\u003c/p>\n\u003cp>Mark is one of a four-member team of Lumon employees who make up the Macrodata Refinement division. There’s also Irving (John Turturro) a pure company man devoted to Lumon’s unusual, quasi-religious corporate culture; Dylan (Zach Cherry), a sardonic desk jockey only interested in earning company perks for meeting his numbers, and new arrival Helly (Britt Lower), who puts the “hostile” in hostile work environment. (She whips an intercom at Mark’s forehead a few minutes into their first meeting.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can’t blame her; like all members of Mark’s team, Helly has had her brain surgically altered so that, for security reasons, she retains no memories of the work she does at Lumon whenever she’s at home—and retains no memories of her life outside of Lumon while she’s at work. The key difference: Mark and his team of long-timers now accept this completely. To Helly, who doesn’t recall agreeing to the process, it’s all brand new, and terrifying; she wants out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xEQP4VVuyrY\u003c/p>\n\u003ch3>Putting the \u003cem>human \u003c/em>in Human Resources\u003c/h3>\n\u003cp>That’s the high-concept premise: The Mark, Irving, Dylan and Helly who sit at those clunky console computers performing an inscrutable task with numbers all day long aren’t really their “true” selves—they’ve been stripped of the manifold experiences that shape a life, and define a personality. These so-called “innies” do possess their own thoughts and feelings, however, and they’re desperately curious about their selves outside the office. Any contact or communication between “innies” and “outies” is expressly forbidden, however.\u003c/p>\n\u003cp>[aside postid='arts_13909218']When we get to meet Mark’s “outie” self, we learn he’s a deeply depressed man who eagerly agreed to the severance procedure after suffering a crushing loss; his grief has exhausted him, and he just wants to stop feeling it, even if just for eight hours a day. One of the first episode’s finest, surest touches occurs as we follow “outie” Mark into a Lumon elevator, and observe the precise moment of his transition into “innie” Mark, during the descent to his sub-basement office space. There is a soft buzzing sound, the screen’s aspect ratio widens, and the expression on his face subtly but chillingly alters from low-level despair into … a perfect, blissful absence.\u003c/p>\n\u003cp>Now: This premise, and its execution, could easily go wrong in any of a hundred different ways. If all of this detailed, finely executed imaginative work were being done in service of broad corporate satire—the kind that simply sets about scoring lazy pot-shots at companies’ ability to exploit and dehumanize their employees—it would grow rapidly one-note, and boring.\u003c/p>\n\u003cp>Instead, \u003cem>Severance \u003c/em>expertly channels all of the energy it would otherwise spend making tired jokes about corporate culture into slowly but steadily building out its highly specific world. And the world of this \u003cem>particular \u003c/em>corporation is fascinating—its puzzling business culture; its bizarre systems of employee performance reviews, rewards and punishments; its shadowy history and lore; and, most intriguingly, its mysteriously compelling founder. (Who seems like what you’d end up with if you mixed Joseph Smith and L. Ron Hubbard with Elon Musk.)\u003c/p>\n\u003cp>The whole affair requires a sustained deftness of tone that the series pulls off effortlessly, steadily ratcheting up the stakes and pacing while supplying its characters room to breathe, grow and complicate.\u003c/p>\n\u003cp>In “outie” Mark’s home life, his close relationship with his sister (a wryly funny and deeply empathetic Jen Tullock) provides him much-needed comfort, while her self-help author husband (the great Michael Chernus, who’s hilarious here) causes him only exasperated frustration—and supplies the series with its best jokes.\u003c/p>\n\u003cp>In “innie” Mark’s office life, his intense, ironically named boss Harmony (Patricia Arquette, going full ham and loving it) and aggressively affable office manager Milchick (Tramell Tillman) get to add layers to their performances and make choices that legitimately surprise us.\u003c/p>\n\u003cp>[aside postid='arts_13908728']And while all of this is going on, \u003cem>Severance \u003c/em>manages to be \u003cem>about \u003c/em>something, something that’s fascinating to grapple with, and not a little unsettling—the notion of who we are at our core, and precisely how much of our self-perception is shaped by the exterior forces constantly bombarding us. Is Mark’s “innie” truly a whole person, if he exists only to work? Can anything like a conscience arise in the absence of true consciousness?\u003c/p>\n\u003cp>\u003cem>Severance \u003c/em>raises these questions and many more and—intriguingly—isn’t particularly interested in serving up too-tidy answers.\u003c/p>\n\u003cp>I loved watching this show, but I do feel obliged to issue this caveat: \u003cem>Severance \u003c/em>has a nine-episode season, and has not, at this writing, been picked up for another. It ends on a perfectly orchestrated, nerve-wracking cliffhanger that finds every member of the cast making irrevocable, harrowing decisions. Big questions looming over the season do get answered, but in the process, even bigger ones get proposed, just as the final credits come up.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If that’s something you feel your system can take, then \u003cem>Severance’s \u003c/em>thrilling conclusion will satisfy you—even (especially?) if you find yourself yelling at the screen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+thriller+%27Severance%2C%27+Adam+Scott%27s+humanity+hangs+in+the+%28work-life%29+balance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Make no mistake: That lengthy tracking shot near the top of the first episode of \u003cem>Severance\u003c/em>, Apple TV+’s darkly funny, hugely imaginative corporate-thriller series, is all about swagger.\u003c/p>\n\u003cp>The camera follows Adam Scott’s Mark through the spare, white, featureless fluorescent halls of Lumon Industries as he walks to his sad little cubicle. And it’s a long, circuitous walk, because the floor on which he works appears to contain very few actual workspaces, and instead seems composed almost entirely of those endless, labyrinthine hallways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The aforementioned swagger isn’t possessed by Mark himself, who seems a dutifully nice, unassuming sort. No, that slow-burn start is all about \u003cem>Severance \u003c/em>(and creator Dan Erickson, and director Ben Stiller) confidently calling its shot, saying: We’re going somewhere, somewhere specific and stylized. We may take our time getting there, but if you hang with us, it’ll be worth it.\u003c/p>\n\u003cp>For some viewers, the line between swagger and self-indulgence is a thin one, and the unhurried nature of the show’s early going will prove a deal-breaker. For me, the world of this series is so fully imagined, so refreshingly singular—plus it just keeps on getting \u003cem>weirder—\u003c/em>that I was only too happy to strap in, and was grateful I did.\u003c/p>\n\u003cp>Mark is one of a four-member team of Lumon employees who make up the Macrodata Refinement division. There’s also Irving (John Turturro) a pure company man devoted to Lumon’s unusual, quasi-religious corporate culture; Dylan (Zach Cherry), a sardonic desk jockey only interested in earning company perks for meeting his numbers, and new arrival Helly (Britt Lower), who puts the “hostile” in hostile work environment. (She whips an intercom at Mark’s forehead a few minutes into their first meeting.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can’t blame her; like all members of Mark’s team, Helly has had her brain surgically altered so that, for security reasons, she retains no memories of the work she does at Lumon whenever she’s at home—and retains no memories of her life outside of Lumon while she’s at work. The key difference: Mark and his team of long-timers now accept this completely. To Helly, who doesn’t recall agreeing to the process, it’s all brand new, and terrifying; she wants out.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xEQP4VVuyrY'\n title='//www.youtube.com/embed/xEQP4VVuyrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Putting the \u003cem>human \u003c/em>in Human Resources\u003c/h3>\n\u003cp>That’s the high-concept premise: The Mark, Irving, Dylan and Helly who sit at those clunky console computers performing an inscrutable task with numbers all day long aren’t really their “true” selves—they’ve been stripped of the manifold experiences that shape a life, and define a personality. These so-called “innies” do possess their own thoughts and feelings, however, and they’re desperately curious about their selves outside the office. Any contact or communication between “innies” and “outies” is expressly forbidden, however.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When we get to meet Mark’s “outie” self, we learn he’s a deeply depressed man who eagerly agreed to the severance procedure after suffering a crushing loss; his grief has exhausted him, and he just wants to stop feeling it, even if just for eight hours a day. One of the first episode’s finest, surest touches occurs as we follow “outie” Mark into a Lumon elevator, and observe the precise moment of his transition into “innie” Mark, during the descent to his sub-basement office space. There is a soft buzzing sound, the screen’s aspect ratio widens, and the expression on his face subtly but chillingly alters from low-level despair into … a perfect, blissful absence.\u003c/p>\n\u003cp>Now: This premise, and its execution, could easily go wrong in any of a hundred different ways. If all of this detailed, finely executed imaginative work were being done in service of broad corporate satire—the kind that simply sets about scoring lazy pot-shots at companies’ ability to exploit and dehumanize their employees—it would grow rapidly one-note, and boring.\u003c/p>\n\u003cp>Instead, \u003cem>Severance \u003c/em>expertly channels all of the energy it would otherwise spend making tired jokes about corporate culture into slowly but steadily building out its highly specific world. And the world of this \u003cem>particular \u003c/em>corporation is fascinating—its puzzling business culture; its bizarre systems of employee performance reviews, rewards and punishments; its shadowy history and lore; and, most intriguingly, its mysteriously compelling founder. (Who seems like what you’d end up with if you mixed Joseph Smith and L. Ron Hubbard with Elon Musk.)\u003c/p>\n\u003cp>The whole affair requires a sustained deftness of tone that the series pulls off effortlessly, steadily ratcheting up the stakes and pacing while supplying its characters room to breathe, grow and complicate.\u003c/p>\n\u003cp>In “outie” Mark’s home life, his close relationship with his sister (a wryly funny and deeply empathetic Jen Tullock) provides him much-needed comfort, while her self-help author husband (the great Michael Chernus, who’s hilarious here) causes him only exasperated frustration—and supplies the series with its best jokes.\u003c/p>\n\u003cp>In “innie” Mark’s office life, his intense, ironically named boss Harmony (Patricia Arquette, going full ham and loving it) and aggressively affable office manager Milchick (Tramell Tillman) get to add layers to their performances and make choices that legitimately surprise us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And while all of this is going on, \u003cem>Severance \u003c/em>manages to be \u003cem>about \u003c/em>something, something that’s fascinating to grapple with, and not a little unsettling—the notion of who we are at our core, and precisely how much of our self-perception is shaped by the exterior forces constantly bombarding us. Is Mark’s “innie” truly a whole person, if he exists only to work? Can anything like a conscience arise in the absence of true consciousness?\u003c/p>\n\u003cp>\u003cem>Severance \u003c/em>raises these questions and many more and—intriguingly—isn’t particularly interested in serving up too-tidy answers.\u003c/p>\n\u003cp>I loved watching this show, but I do feel obliged to issue this caveat: \u003cem>Severance \u003c/em>has a nine-episode season, and has not, at this writing, been picked up for another. It ends on a perfectly orchestrated, nerve-wracking cliffhanger that finds every member of the cast making irrevocable, harrowing decisions. Big questions looming over the season do get answered, but in the process, even bigger ones get proposed, just as the final credits come up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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